Ok, as said in another thread, I found it quite weird that very little (in fact pretty much none) of the talk 'round these parts of TGP is about phrasing. To me, phrasing is *the* single most important thing when it comes to playing lines/melodies/solos. And I think it can be worked on almost every bit as much as one could work on scales and patterns - just that it seems to me very little folks are spending a considerable amount of time on it during their practice sessions. I have heard so much guitar players being able to play pretty much everything technically, but when you throw some simple vamps at them, they'd fail miserably to come up with some nice lines on their own. Whatever, before I might be getting to some actual content (oh yes, I'll even come up with some sound examples - another rather rare thing at TGP… pun intended), it's probably a good idea to define the term "phrasing". In a nutshell: Phrasing is about *which* note(s) to play *when* and for how long (<-!). In other words, it's a combination of tonal and rhythmic content. You might now argue that dynamics are a part of phrasing, too, but as they're not applicable in a universal way (some instruments simply don't allow for dynamics, such as organs, unless you use a volume pedal, which is quite something else already…), which is what phrasing is all about. Anything else to manipulate your lines falls into the category of "articulation". Bends, slurs, vibrato, tremolo, etc. And - well - dynamics. But all these are instrument/sound specific, whereas phrasing basically isn't. And this thread is supposed to be about the latter. As there's literally endless sources for material regarding the tonal content (which scale to play when, which alterations to use, which concepts, etc.pp.), I'll try to not get into that much, if at all, but concentrate on the rhythmic presentation of some rather simple things instead. Ok, not that I haven't been completely unaware of things before it, but there's been a pretty particular "oh wow!" moment that got me started to examin these things a bit more. Almost decades ago I watched Scott Hendersons (particularly excellent) "Melodic Phrasing" video (sorry, no links to watch, has been on YT once but isn't anymore, I still have it on an almost unwatchable VHS somewhere) and at one point he played some totally random notes using the rhythm of "Jingle Bells" - you would instantly recognize the tune without any question. Even I did, my friends, too - and it's not the most traditional christmas tune over here in Europe. Try for yourself, play the rhythm of "Jingle Bells" to someone. Chances are he/she will recognize it. In case he/she isn't, add a stupid melody that only uses the same directions of melodic movement but different notes - that's probably when each and everybody will recognize it, and it should illustrate the point pretty much as well: It's merely about the rhythm. So, once we (hopefully) had this "oh wow!" moment, what can we do with it to make it part of our playing? In short: We can use various rhythmic concepts to make our lines more "plausible", to establish certain notes, to get some structure into things (rather than just playing "correct" notes randomly), to create some interest into what otherwise might be rather boring scalar patterns, etc. I'll try my best to start with some examples straight in the next few posts. In case someone would like to add some more content, I'd be more than happy (unless it turns into yet another "you need to play Coltrane lines to understand" thing - which this is absolutely not about!). I'll try to make things pretty easy to understand, free of any stylistic boundaries (hence my comment about Coltrane lines…), so the ideas could be applied regardless whether you're into modern bebop or low tuned metal shredding. You might even laugh at the simplicity of some examples, but I think they might get the idea(s) through, though. We shall see. So much for now, will now have to spend the afternoon with my kids, so I'll hopefully continue in the (CET) evening. Just wanted start this to sort of force myself to actually get the ball rolling. Edit: I finally managed to post some examples, starts on page 6. But those interested in some further discussion about the issue shouldn't miss the previous pages, there's some interesting stuff.